Jonathan Rosenbaum

The unfocused story is so bereft of any clear sense of period or location that the political melodrama sometimes seems to be taking place inside a cigar box.

In its own quiet way this is an astonishing film, both as a medical detective story that sustains taut interest over an extended running time and as a piece of cinema combining unusually resourceful acting and direction. If any movie of recent years deserves to be called inspirational--a much-abused term that one hesitates to revive apart from exceptional circumstances--this one certainly does.

Powerfully illustrates what globalization has been doing to underdeveloped countries around the world.

If Wahlberg in a beret is your idea of fun, don't let me get in your way.

Heckerling still has some of the sensitivity she showed in handling actors in Fast Times at Ridgemont High and she has a deft way of illustrating her heroine's fantasies about possible mates without any fuss.

Experimental films are frequently criticized for being boring because they say and do too little, but the best of them put us in exhilarating overdrive because they offer too much.

Stupid, vicious, and pretentious, though you may find it worth checking out if you want to experiment with your own nervous system.

If Bertolucci had restricted himself to Siddhartha’s story he would have remained on solid ground, at least as a storyteller, for the interpolated religious tale is far and away the best thing in the movie, full of enchantment and wonder.

Of course the movie's real raison d'etre is watching Ice Cube tear up government facilities and blockades with a tank, spout Schwarzenegger-style kiss-off lines, and commandeer the kind of babes and high-tech cars that James Bond usually plays with.

This adaptation of Christina Crawford's memoir about her driven, abusive mother is arguably too good to qualify as camp, even if it begins (and fitfully proceeds) like a horror film. Director Frank Perry, who collaborated with three others (including producer Frank Yablans) on the script, gives it all a certain crazed conviction.

Compulsively mainstream as only 50s Hollywood could be, and never very funny.

Tsai's obvious disgust at the sex is part of what makes the film so unpleasant; he remains a brilliant original, but this is a parody of his gifts.

For all its minimalism, Tsai Ming-liang's 81-minute masterpiece manages to be many things at once.

Overall this is an intelligent and thoughtful reading of the play, marred only by the implausibility of Portia.

In this landscape everyone is a tourist, but Tati suggests that once we can find one another, we all belong.

A few of the set pieces are fussy or overly extended, but the rest is tolerable bone-crunching diversion.

This is in some ways my favorite Hartley picture - because it takes the most risks and gives the mind the most to do.

The character and plot contrivances are dumber than ever, but this is basically vaudeville, not narrative, and the thrills keep coming.

Alas, the plot eventually takes over, and it's exceptionally ugly and unpleasant.

At first I thought this was a Michael Haneke knockoff, but it's more depressing and less edifying than most of those narrative experiments, which is why I eventually tuned it out.

What ultimately prevents it from being something more is the fact that Annaud isn't a better director. Even the film's virtuosity as a technical feat is frequently undercut by the fact that one is too much aware of it as a stunt to accept it as a story on its own terms.

Remains mired in a smart-alecky film-school sensibility.

It's full of pain and quirky characters standing at oblique angles to one another, and while it doesn't add up it held me throughout.

Without being any sort of miracle, this is an engaging and lively exploitation fantasy-thriller about computer hackers, anarchistic in spirit, that succeeds at just about everything "The Net" failed to--especially in representing computer operations with some visual flair.

Ryan's abrasive and rather creepy character is something of a departure for her.

Sensitive, intelligent, enlightening, and sometimes surprising.

The comedy is extremely broad (with Curtis eliciting almost as many laughs as Schwarzenegger), the action sequences are as well crafted as one can expect from Cameron, and the meaning is as root basic as anyone would wish.

Under the circumstances, MacLaine, Costner, and Ruffalo acquit themselves well.